Weiss auf Rot. Das Schweizer Kreuz zwischen nationaler Identität und Corporate Identity

Das Schweizer Kreuz hat als Zeichen ausserordentliche Qualitäten und ein enormes Potenzial. Seine Verwendung geht weit über den unmittelbaren Bereich von Staat und Nation hinaus. Die Publikation der Hochschule der Künste Bern HKB erschliesst dieses Phänomen mit illustrierten Beiträgen von Fachleuten aus verschiedenen wissenschaftlichen Fachrichtungen. Für Nation, Staat, Politik und im Sport steht es als Symbol, im Kontext Wirtschaft ist es Teil von Logos, im Zusammenhang von Lifestyle und Zeitgeist tritt es als modisches Ornament auf. Das Schweizer Kreuz macht TrägerInnen und AbsenderInnen identifizierbar: Abstimmungsunterlagen als staatliche Dokumente, die Sportlerin als Mitglied des Nationalteams, den Inhaber eines Pas-ses oder einer Identitätskarte als Schweizer Bürger; Post oder SBB als schweizerische Dienstleister; die Besitzerin einer Tasche als Vertreterin einer Lifestyle-Gruppe oder Nachzüglerin eines sinkenden Trends; das Mineralwasser als natürliches, gesundes Produkt; eine Alu-Trinkflasche als flottes Qualitätsprodukt. Interdisziplinärer Zugang «Weiss auf Rot. Das Schweizer Kreuz zwischen nationaler Identität und Corporate Identity» ist eine Textsammlung, die entsprechend der Vielfältigkeit des Themas auch eine Vielfalt von Annäherungen an den Gegenstand bietet. Die 13 wissenschaftlichen Texte werden ergänzt durch fünf Interviews mit VertreterInnen aus Politik, Wirtschaft, Sportwissenschaft und Gestaltung, die in ihrem berufli-chen Alltag einen praktischen Bezug zum Schweizer Kreuz haben.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

Cuerpo, arte, experiencia e investigación. "Problemas de corporalidad"

En este artículo comentaremos las principales discusiones surgidas en la Mesa N° 15 "Problemas de corporalidad" desarrollada en el IX Congreso Argentino y IV Latinoamericano de Educación Física y Ciencias, en la UNLP. En este grupo de trabajo se recibieron ponencias que versaron sobre la cuestión de la corporalidad en la práctica artística, incluyendo fundamentalmente reflexiones relativas a la danza, el teatro, la performance, la música, la danza-terapia y la educación corporal. Se puso énfasis en la generación de debates, discusiones y reflexiones que tocaran a todos los expositores o a grupos de ellos, posibilitando delimitar puntos de encuentro y divergencias entre sus enfoques. Las discusiones surgidas estuvieron atravesados por el hecho de que casi todos los trabajos compartían una característica: el ser producto de la reflexión sobre la propia práctica. Esto puso en el centro del debate las reflexiones sobre las relaciones entre experiencia e investigación, y los diálogos que se generan entre el hacer investigación desde y sobre la práctica

Cuerpo, arte, experiencia e investigación. "Problemas de corporalidad"

En este artículo comentaremos las principales discusiones surgidas en la Mesa N° 15 "Problemas de corporalidad" desarrollada en el IX Congreso Argentino y IV Latinoamericano de Educación Física y Ciencias, en la UNLP. En este grupo de trabajo se recibieron ponencias que versaron sobre la cuestión de la corporalidad en la práctica artística, incluyendo fundamentalmente reflexiones relativas a la danza, el teatro, la performance, la música, la danza-terapia y la educación corporal. Se puso énfasis en la generación de debates, discusiones y reflexiones que tocaran a todos los expositores o a grupos de ellos, posibilitando delimitar puntos de encuentro y divergencias entre sus enfoques. Las discusiones surgidas estuvieron atravesados por el hecho de que casi todos los trabajos compartían una característica: el ser producto de la reflexión sobre la propia práctica. Esto puso en el centro del debate las reflexiones sobre las relaciones entre experiencia e investigación, y los diálogos que se generan entre el hacer investigación desde y sobre la práctica

Cuerpo, arte, experiencia e investigación. "Problemas de corporalidad"

En este artículo comentaremos las principales discusiones surgidas en la Mesa N° 15 "Problemas de corporalidad" desarrollada en el IX Congreso Argentino y IV Latinoamericano de Educación Física y Ciencias, en la UNLP. En este grupo de trabajo se recibieron ponencias que versaron sobre la cuestión de la corporalidad en la práctica artística, incluyendo fundamentalmente reflexiones relativas a la danza, el teatro, la performance, la música, la danza-terapia y la educación corporal. Se puso énfasis en la generación de debates, discusiones y reflexiones que tocaran a todos los expositores o a grupos de ellos, posibilitando delimitar puntos de encuentro y divergencias entre sus enfoques. Las discusiones surgidas estuvieron atravesados por el hecho de que casi todos los trabajos compartían una característica: el ser producto de la reflexión sobre la propia práctica. Esto puso en el centro del debate las reflexiones sobre las relaciones entre experiencia e investigación, y los diálogos que se generan entre el hacer investigación desde y sobre la práctica

Contemplative Education CenterStage: Training the Mindful Performer

In the late 20th century and early 21st century, contemplative education/studies courses, concentrations, and initiatives have emerged in the academy. Although there has been significant discussion of postsecondary courses and programs that have integrated contemplative views and practices in the literature, there have been few studies of contemplative curricula and pedagogy in higher education. Additionally, there have been even fewer inquiries of the influence of contemplative education on performing arts training within conservatories and college and university departments. The aim of this qualitative study was two-fold: (1) to describe, interpret, and appraise the impact of contemplative education on the curricula of an interdisciplinary conservatory level performing arts program, MFA Contemporary Performance, at Naropa University; and (2) to disclose, compare, and analyze MFA student perceptions of the influence of contemplative education on their professional and personal development. The following questions guided this study: (1) How do faculty and students characterize contemplative education within the MFA in Theater: Contemporary Performance Program? (2) How does contemplative education impact the intended and operational curricula of courses within the MFA Contemporary Performance Program? (3) How do graduate students perceive the effects of contemplative education, offered by the MFA Contemporary Performance Program, on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives? Based on the research methodology of educational criticism and connoisseurship, this investigation provides a vivid description and interpretation of the intended and operational curricula of three core courses within the MFA program. These curricula were examined through five dimensions: intentional, curricular, pedagogical, structural, and evaluative. In order to shape our understanding of the contemplative and performative nature of the curricula, the significant and subtle qualities of the courses were further captured by preparation, context-building, reflective, showing, and closing conventions. Since the courses were grounded in postmodern view, they were evaluated according to Doll's criteria of richness, recursion, relations, and rigor for the evaluation of postmodern curricula. MFA first- and second-year students primarily characterized contemplative education as body/mind training for performance and personal development, sitting meditation, and cultivation of mindfulness and awareness. Student perceptions of the impact of contemplative education on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives, throughout the course of their two-year training, are presented in a dimensional analysis. The research reveals eight different themes that intersect the three core curricula and interviews with MFA students and faculty. These thematics include inclusivity, nowness, silence, improvisation, goodness, heart, training, and space. The beginning letter of each theme combines to form the acronym, insights. The framework of insights connects and illuminates the most potent aspects of MFA Contemporary Performance values and training.

Need To Be Adored

Faced with a diagnosis of multiple sclerosis, I began with the objective of discovering methods for creating art that were still accessible to me. Along the way, I encountered others who had travelled this road before me. Their experiences led me to examine, not only my art, but also my political orientations, my love obligations and my transitioning self. In my varied art pieces, I conjure something from diverse sources and different worldviews, including contemporary feminist performance art and disability cultural theory. My thesis is a project. I make things: puppets, videos and performances, which included the exhibition, Need to be Adored (2014), staged in the digital media lab of the Isabel Bader Centre for the Performing Arts in Kingston, Ontario, Canada. The exhibition introduced thirteen of my puppets and a thirty-two-minute looped video. Following the exhibition, I put the puppets away and spent two years reading. Finally, taking my inspiration from Carolyn Ellis’s The Autoethnographic I (Ellis 2004), I turned my processes into words. I wrote out my experiences. I created an alternative text of my identity from an able-bodied cis-identified woman into a disabled trans-feminist artist academic. The writing required an uncomfortably intimate examination of my life. Nothing less than complete honesty would allow me to understand my new location. The resulting text is a lyrical and sometimes whimsical flow of consciousness that invites the reader to imagine what it might be like to engage in such a candid review of everything one holds close to one’s heart. Contained within are all my identities. In this text I let some out. This is a story of unsettling. I am working on my art practices, creating a cast of characters from cloth. Puppets. El becomes the exulted main character of a fictional accounting. She uncovers her queer roots and begins to see that she is at the centre of a very strange geography. Her desire to make film is revealed as she re-remembers her childhood through a disability lens.

Statistica delle industrie del distretto camerale ...

At head of title, v. 1: Camera di commercio di Torino; v. 2: Camera di comercio e industria di Torino.

Catalog of copyright entries.

Mode of access: Internet.

Programme.

Title from cover.